Recently I was lucky enough to get the opportunity to travel to Bucharest, Romania, for work. The trip was so that I could attend an art and design education fair and to talk at a couple of high schools about our courses. This was my first such recruitment trip abroad, and I’m told you often only get to see a city from a car window and in the evening before flying back the next day. Thankfully though, because of the timings of our itinerary, I managed to get a little time to myself to wander the city and soak up Bucharest’s visual culture.
This was my first visit to Eastern Europe, and one, given the timing of the trip, that was over-shadowed by Brexit. Our host, locals and delegates from other countries all had an opinion, with none of them positive. The majority of Romanians I spoke to about it, (and Romania isn’t a country afraid of change, it could be argued), all thought Britain was putting itself in a ridiculous position.
One of the things that struck me about Bucharest from the outset, was that it is a country that is happy to wear its history on its sleeve—it is there in plain sight for everyone to see. Our hotel was very close to Revolution Square, the site of the uprising that saw Nicolae Ceaușescu toppled from power nearly 30 years ago.
Monuments to these tumultuous times have seen better days, and the local anarchists appear to show little respect for those that lost their lives fighting against the dictator. Some locals said the current government is the most corrupt in 100 years, so it appears a struggle continues. Given we were a week away from national celebrations of 100 years of independence for Romania, this is some claim given their more recent history. Continue reading →
I recently wrote a review about the design and illustration of Chris Packham’s A People’s Manifesto for Wildlife and I’m honoured that Eye magazine have published it on their blog. You can read the review here.
Harry Woodgate‘s illustrations for the manifesto are stunning. Thanks to Harry, and to Chris, for allowing Eye to use his work.
While some may praise Lush for its recent #SpyCops poster campaign, having your own shop window to deliver a political campaign message in is a luxury most do not have. Now, the non-shop owning agitpropper can turn to Brandalism, who have launched a Subvertising Manual that shows anyone how to reclaim visual spaces from advertisers by replacing 6-sheet adverts with their own artwork.
Taking aim at the backlit hoardings most frequently seen at bus stops, the manual tells you everything you need to know to hang your own work in these spaces. Subtitled What You Need And How To Do It, it discusses what tools are required to open the displays; artwork sizes for the majority of bus shelter hoardings, (advertising lingo calls these 6-sheets); what to wear and the best times of day to hang your work to avoid getting caught; and where you can find information online so your work stays up as long as possible.
The bracketing of the Hope To Nope: Graphics and Politics 2008–2018 exhibition at London’s Design Museum is interesting for many reasons. Starting with Shepard Fairey’s Hope campaign for Obama’s 2008 election, and (almost) finishing with Trump’s Make America Great Again baseball cap, these two items showcase how effective vacuous phraseology can be in winning over people’s emotions when asking them to vote on big decisions. Both speak to the human condition of wanting ‘better’, without actually defining what that ‘better’ might be. They leave it for the reader to appropriate the slogans and adapt them to their own set of desires.
It has to be said the application of such sloganeering adds weight to the message—the words alone didn’t win their respective elections for each candidate. Fairey’s message appealed to the youth vote as much because they were street posters and were run counter (and unendorsed) to the official Democrat campaign; while baseball caps are everyday headgear worn by the everyman and everywoman of America. Each message is targetted precisely, whether strategically intentioned or not. What both tell us though is that logos do not win elections, neither for Obama in 2008 nor Clinton in 2016. As graphic communication devices, logos tend to be overly associated with corporate structures, despite both Obama’s and Clinton’s being applauded by design critics for their aesthetics, symbolism and ‘cleverness’. In thinking that these could help win around floating voters, it strikes me that the audience was ultimately forgotten, unlike with the street posters and baseball caps.
These are just a few of the thoughts I came away with after visiting Hope to Nope with a group of graphic design students the week it opened in April.
In October last year I wrote about the visual identity for Hull City of Culture 2017. I’d mostly only ever heard negative things about the city but vowed to go there this year after seeing this deliberately attention grabbing piece of branding. Claire and I duly booked our summer holiday in the beautiful Lincolnshire Wolds for last week so that we could take a day out in Yorkshire, and Hull did not disappoint.
The Guardian have done it again in creating dynamic and impactful graphics to carry a story. But then I would have been disappointed had the triggering of article 50 for the formal start of Brexit been visualised by the paper in anything less than a dramatic style.
While I have some sympathy with some design criticism on Twitter about a jigsaw being an overused metaphor, I think this doesn’t give credit for the colour treatment making it look like a forgotten 1950s puzzle found in a charity shop. This helps to give the concept greater credence in relation to Brexit. That, and the exaggerated staggering of the typography to form an approximation of the shape of the British Isles. This in itself is a mark of typographic brilliance.